British Queen Anne Revival architecture, also known as Domestic Revival, [1] is a style of building using red brick, white woodwork, and an eclectic mixture of decorative features, that became popular in the 1870s, both for houses and for larger buildings such as offices, hotels, and town halls. It was popularised by Norman Shaw (1831–1912) and George Devey (1820–1886).
The Queen Anne Revival was to a large extent anticipated by George Frederick Bodley, George Gilbert Scott, Norman Shaw, W. Eden Nesfield, J. J. Stevenson, and Philip Webb in the 1860s; they had used and mixed together brick pediments and pilasters, fan-lights, ribbed chimneys, Flemish or plain gables, hipped roofs, wrought-iron railings, sash windows, outside shutters, asymmetry and even sunflower decorations. [2] [3]
The Queen Anne Revival style has, as the architectural historian Mark Girouard writes,
comparatively little to do with Queen Anne. It was the nickname applied to a style which became enormously popular in the 1870s and survived into the early years of this century. 'Queen Anne' came with red brick and white-painted sash windows, with curly pedimented gables and delicate brick panels of sunflowers, swags, or cherubs, with small window panes, steep roofs, and curving bay windows, with wooden balconies and little fancy oriels jutting out where one would least expect them. It was a kind of architectural cocktail, with a little genuine Queen Anne in it, a little Dutch, a little Flemish, a squeeze of Robert Adam, a generous dash of Wren, and a touch of François 1er." [4]
All of these features can be seen in houses, large or small, of the later part of the Victorian era. [1] [5]
Characteristic features of Shaw's houses, well seen in the Bedford Park garden suburb in west London alongside the work of other contemporary architects interpreting the Queen Anne Revival style, are red brick, walls hung with tiles, gables of varying shapes, balconies, bay windows, terracotta and rubbed brick decorations, pediments, elaborate chimneys, and balustrades painted white. [6] [7] [8]
Shaw's eclectic designs freely combined Arts & Crafts, Georgian, medieval, Tudor, and Wren styles. [9]
In 1871–3, the Scottish architect J. J. Stevenson built his widely-imitated [10] Red House on Bayswater Hill; its name may have been a response to William Morris's Red House, Bexleyheath. Both inside and out it was an eclectic mix of styles, with furnishings from different continents and centuries. Outside it was brown brick with red brick dressings; dormer windows with Flemish gables in a flat facade over a cornice; bay windows, and sashes with louvred shutters. [10]
W. E. Nesfield worked in partnership with Shaw from 1866 to 1869, helping to develop the Queen Anne Revival style. Together they examined the architecture of the English countryside, sketching Kent and Sussex's half-timbered farmhouses and tile-hung cottages, and then the structure and ornamentation of houses in country towns, with their red brick, sash windows, plasterwork, pargetting, joinery and rubbed or shaped brick. From this and a measure of George Edmund Street's Gothic Revival, they made their "Old English" style. Gradually adding in their exploration of 17th and 18th century classic architecture, they developed their Queen Anne Revival style. [11]
New World Queen Anne Revival architecture and its derivative the Shingle style are related to the British Queen Anne style but with time became increasingly different from it, and in Girouard's view are "both more adventurous and more exciting." [13]
Professional criticism of the style began quickly, with comments such as that in the Building News of 31 May 1872, likely by the church architect J. P. Seddon, that it was "mediaeval, but freely treated, with a good deal of impure classical details, introduced after the fashion of the Queen Anne period, now so much and so foolishly imitated". [14] Other Gothic Revival architects followed suit, though the younger ones were more accepting; E. W. Godwin remarked on the "excellence both of the materials and workmanship" of J. J. Stevenson's Red House. [14] When in 1873 the Royal Academy showed off the designs for George Frederick Bodley's School Board Offices, Edward Robert Robson & Stevenson's Board Schools, and Shaw's New Zealand Chambers, they were found in Girouard's words "clever, no doubt, but also startling and even shocking". [14]
The lay press was more relaxed about the new style; The Globe of 13 January 1874 called it a natural response to the more assertive Gothic Revival, while The Saturday Review of 31 July 1875 described its own response as "perfect good humour and equal scepticism", considering the style to be artificially based on an eclectic mix and not at all serious. [15]
The Queen Anne style of British architecture refers to either the English Baroque architecture of the time of Queen Anne or the British Queen Anne Revival form that became popular during the last quarter of the 19th century and the early decades of the 20th century. In other English-speaking parts of the world, New World Queen Anne Revival architecture embodies entirely different styles.
The Colonial Revival architectural style seeks to revive elements of American colonial architecture.
William Eden Nesfield was an English architect. Like his some-time partner, Richard Norman Shaw, he designed several houses in Britain in the revived 'Old English' and 'Queen Anne' styles during the 1860s and 1870s. He was also a designer and painter.
Tudor Revival architecture, also known as mock Tudor in the UK, first manifested in domestic architecture in the United Kingdom in the latter half of the 19th century. Based on revival of aspects that were perceived as Tudor architecture, in reality it usually took the style of English vernacular architecture of the Middle Ages that had survived into the Tudor period.
Australian residential architectural styles have evolved significantly over time, from the early days of structures made from relatively cheap and imported corrugated iron to more sophisticated styles borrowed from other countries, such as the California bungalow from the United States, the Georgian style from Europe and Northern America, and the Victorian style from the United Kingdom. A common feature of the Australian home is the use of fencing in front gardens, also common in both the United Kingdom and the United States.
Bedford Park is a suburban development in Chiswick, London, begun in 1875 under the direction of Jonathan Carr, with many large houses in British Queen Anne Revival style by Norman Shaw and other leading Victorian era architects including Edward William Godwin, Edward John May, Henry Wilson, and Maurice Bingham Adams. Its architecture is characterised by red brick with an eclectic mixture of features, such as tile-hung walls, gables in varying shapes, balconies, bay windows, terracotta and rubbed brick decorations, pediments, elaborate chimneys, and balustrades painted white.
Federation architecture is the architectural style in Australia that was prevalent from around 1890 to 1915. The name refers to the Federation of Australia on 1 January 1901, when the British colonies of Australia collectively became the Commonwealth of Australia.
Queen Anne style architecture was one of a number of popular Victorian architectural styles that emerged in the United States during the period from roughly 1880 to 1910. It is sometimes grouped as New World Queen Anne Revival architecture. Popular there during this time, it followed the Second Empire and Stick styles and preceded the Richardsonian Romanesque and Shingle styles. Sub-movements of Queen Anne include the Eastlake movement.
Thomas Lainson, FRIBA was a British architect. He is best known for his work in the East Sussex coastal towns of Brighton and Hove, where several of his eclectic range of residential, commercial and religious buildings have been awarded listed status by English Heritage. Working alone or in partnership with two sons as Lainson & Sons, he designed buildings in a wide range of styles, from Neo-Byzantine to High Victorian Gothic; his work is described as having a "solid style, typical of the time".
Territorial Revival architecture describes the style of architecture developed in the U.S. state of New Mexico in the 1930s. It derived from New Mexico vernacular Territorial Style, an original style from Santa Fe de Nuevo México following the founding of Albuquerque in 1706. Territorial Revival incorporated elements of traditional regional building techniques with higher style elements. The style was intended to recall the Territorial Style and was extensively employed for New Mexico state government buildings in Santa Fe.
The Carriage House Historic District in Miles City, Montana was added to the National Register of Historic Places in 1991. The historic district contained 54 contributing buildings and 21 non-contributing ones, on the 900 to 1100 blocks of Pleasant and Palmer Avenues and on cross streets. Nine locations feature signs describing the property.
Beverley Ussher was articled to Melbourne architect Alfred Dunn. Dunn was English and had worked for architect Alexander Lauder in Barnstaple, Devon, where he worked with Arts and Crafts movement theorist and practitioner W.R. Lethaby. Through Dunn's English connections, when Ussher completed his architecture articles in Melbourne, he visited England and was introduced to architect Walter Butler. Later Ussher and Butler formed a partnership in Melbourne.
Swan House is a Grade II* listed house at 17 Chelsea Embankment on the north bank of the River Thames in Chelsea, central London, England. Built in 1876 by the architect Richard Norman Shaw, architecturally it is relevant both to the Queen Anne Revival and to the Arts and Crafts movement. It was built by Shaw for the artistic patrons Wickham and Elizabeth Flower. Jones and Woodward, in their Guide to the Architecture of London, consider Swan House to be the "finest Queen Anne Revival domestic building in London."
The block of three buildings containing The Tabard public house is a Grade II* listed structure in Chiswick, London. The block, with a row of seven gables in its roof, was designed by Norman Shaw in 1880 as part of the community focus of the Bedford Park garden suburb. The block contains the Bedford Park Stores, once a co-operative, and a house for the manager.
St Michael and All Angels is a Grade II* listed Church of England parish church in Bedford Park, Chiswick. It was designed by the architect Norman Shaw, who built some of the houses in that area. The church was consecrated in 1880. It is constructed in what has been described both as British Queen Anne Revival style and as Perpendicular Gothic style modified with English domestic features. Its services are Anglo-Catholic.
William Mortimer (1841/42–1913) was an architect working in Lincoln from around 1858. He also played for the Lincolnshire County Cricket team.
Scorer and Gamble was an architectural practice in Lincoln which operated between 1901 and 1913, although the name Scorer and Gamble continued to be used until 1930. The partnership was between William Scorer (1843–1934) and Henry Gilbert Gamble (1867–1944). The partnership operated from Bank Street Chambers Lincoln. Their work is described as "eclectic, ranging from the Arts and Crafts/Art Nouveau of Gainsborough Library (1905) to the more disciplined English Renaissance of Horncastle (1908) and later schools". In 1903, Gamble, who may have been the more talented designer was appointed architect to the Lindsey County Council Education Committee.
Jonathan Thomas Carr (1845–1915) was an English cloth merchant turned property developer and speculator. He is remembered for founding the Bedford Park garden suburb in Chiswick, west London. While he probably was not made bankrupt by that development, he later received a record-breaking 342 bankruptcy petitions.
In the New World, Queen Anne Revival was a historicist architectural style of the late 19th and early 20th centuries. It was popular in the United States, Canada, Australia, and other countries. In Australia, it is also called Federation architecture.
The architecture of Bedford Park in Chiswick, West London, is characterised largely by Queen Anne Revival style, meaning an eclectic mixture of English and Flemish house styles from the 17th and 18th centuries, with elements of many other styles featuring in some of the buildings.
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